Identify the chord progression ii7-V7-I from the lead sheet of My Romance.

Below is an example of how the ii7-V7-I7 may be played.

​​Let’s take a closer look at the ii7-V7-IMaj7 progression. If you extend a major chord by adding a 7th, 9th, 11th, 13th – the ii7 becomes a subset of the V7. In the example, the ii7 and V7are the same chord, both chords have the same function, both resolve to the same place. The ii7 chord can almost always be substituted for a V7.

Here is what My Romance sounds like going to a V7.

Now substitute ii7 for V7.

Keep in mind you can . . .

Substitute a single ii7 chord for the V7 chord.

Substitute ii7-V7-I cadence for V7-1.

In reharmonizing a song, changing a 1-V-1 progression to a I -ii7- I progression may not be desirable so it may not be a good idea to change every V to a ii7- but you could change the progression to I-ii7-V7-I or . . .

If the V is one full measure, you can change the first two beats in the measure to a ii7 and leave the last 2 beats a V7.

If you are playing a V7 for three or four measures you can change the first measure to a ii7.

You can change the last beat or two of a I chord to a ii7 then V7-1.

The last cadence 1-V-1 can be changed of course to I-ii7-V7-1.

​In this example, I’ve changed the closing cadence in Honeysuckle Rose from 1-IV-I to 17- IV7- ii7- V7- I. Study the mapping tool and chord map and then the closing cadences in Honeysuckle Rose.

Unaltered . . .

Altered . . .

Listen to the comparison.

​Another example of a ii–V-I progression is found in the second line of My Romance inside the progression viadd9– 1- VI7- ii7- V7-Imaj7. Study the mapping tool and chord map to reinforce the I-vi-ii-V-1 progression, and then find it in My Romance.

​You can see that the VI7 chord in the second measure of My Romance is not diatonic. It does not fall under the diatonic scale because it is a major chord (VI7) instead of minor (vi7). If a progression moves down a fifth, you can change the minor chords ii, iii, or vi, to II, III, or VI. This is chord substitution.

When you change one of the normal minor chords to major it is called a secondary dominant. A secondary dominant gives you a different sound but does not affect the progression. A dominant chord usually resolves down a fifth (if descending) or up a fourth (if ascending), likewise a secondary dominant will also resolve down a fifth or up a fourth. Therefore it works in the progression for a VI7 chord to resolve to the ii in the ii-V-I cadence.

​Notice the first measure begins with a vi chord. Remember from lesson two that a Secondary vi chord is related to the Primary I chord through two common tones, therefore vi can substitute for I, as shown.

​Find the ii- V- I progression in Bach’s Prelude in D Major – the root of the scale degrees ii – V - I are found in the bass clef. The key is D Major.

​ The progression ii-V-I is encountered in both Classical and Jazz. In the next lesson we begin a study of improvisation with a method of practicing the ii7-V7-i7 progressions.